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近几年来,由于种种原故,戏曲现代戏几乎在全国范围内上座率普遍下降,出现了观众不愿看、剧团不愿排、作者不愿写的局面。不少剧作者纷纷改行,写起了小说、诗歌、电影,甚至连一些从事戏曲现代戏数十年、在全国颇有影响的老作家,也大杀“回马枪”,写起了传统剧。面对这种现状,戏曲现代戏的前途,便自然而然地成为人们十分关心和争议的中心。其看法归纳有三: 一曰“剧种分工论”。持这种看法的同志认为,中国戏曲的产生和发展,都处于封建社会,又形成了一整套艺术程式(即表演程式化、音乐板式化,角色行当化,化妆脸谱化)。这套程式,原来就是为表现历史人物服务的,现在要用它来反
In recent years, due to various reasons, the attendance rate of modern drama in the opera has generally dropped throughout the country. There is a situation where the audience is unwilling to watch and the troupe does not want to be ranked. The author is reluctant to write. Many dramatists have changed their ways, writing novels, poems, films, and even some old writers who have been influential in the modern drama for decades in the traditional operas. In the face of this situation, the future of modern opera in the opera naturally becomes the center of great concern and controversy. The views summed up in three: a “drama division of labor.” The comrades holding this view hold that the emergence and development of Chinese traditional opera are all in the feudal society and form a complete set of art programs (that is, program stylization, musical style-changing, role-playing and face masquerading). This program, which used to serve the performance of historical figures, should now be used against it